Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malta and from Delhi.
But I was there.
I was there in 1983.
I was there at the first Art of Noise show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1979.
I'm losing my edge.
To all the kids in Philadelphia and Sao Paulo.
I'm losing my edge to the art-school Cairo kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1987 at the first Nirvana practice in a loft in Seattle.
I was working on the oboe sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Rakim to the jazz kids.
I played it at the Roxy.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Lee Hazlewood. All the underground hits.
All Strawberry Alarm Clock tracks. I heard you have a vinyl of every Leonard Cohen record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '70s.
I hear you're buying a snare and a güiro and are throwing your macbook out the window because you want to make something real. You want to make a Stetsasonic record.
I hear that you and your band have sold your spring reverb and bought a clarinet.
I hear that you and your band have sold your clarinet and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Faraquet,
Steve Hackett,
Simply Red,
Talk Talk,
Rahsaan Roland Kirk,
The Fugs,
Hardrive,
Girls At Our Best!,
Trumans Water,
The Blues Magoos,
Con Funk Shun,
Morten Harket,
New York Dolls,
Basic Channel,
The Birthday Party,
Eddi Front,
Pierre Henry,
Minnie Riperton,
The Victims,
Masters at Work,
Sarah Menescal,
Unrelated Segments,
Bang on a Can All-Stars,
Mary Jane Girls,
La Düsseldorf,
Warsaw,
Manfred Mann's Earth Band,
Bobby Hutcherson,
Andrew Ashong & Theo Parrish,
Teenage Jesus and the Jerks,
Beasts of Bourbon,
Selector Dub Narcotic,
Schoolly D,
James White and The Blacks,
Marmalade,
Lee Hazlewood,
The Tremeloes,
Blake Baxter,
Bobby Womack,
Depeche Mode,
Bootsy's Rubber Band,
kango's stein massive,
Young Marble Giants,
LL Cool J,
Roy Ayers Ubiquity,
Cymande,
The Sound,
Gil Scott Heron,
The Cramps,
Soft Machine,
Matthew Bourne,
Desert Stars,
Bobbi Humphrey,
Peter & Gordon,
Pole,
Urselle,
Camouflage,
Jerry's Kids,
Althea and Donna,
John Cale,
Kerri Chandler, Kerri Chandler, Kerri Chandler, Kerri Chandler.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.